We Are What We Are (Blu-ray)

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All Rise...

Judge Gordon Sullivan wonders why there are no cannibals on reality TV.

The Charge

The Parkers would like to have you for dinner.

Opening Statement

There was a time when the theme of American culture was "progress"
and "aspiration." It's where the whole concept of the American Dream
came from: the idea that anyone, from anywhere in these United States could rise
up and achieve greatness. The corollary to this narrative of progress, however,
was that it required hard work. Somewhere in the last century or so that
narrative dried up, and it's hard not to see a new one rising up from the ashes
of reality TV programming. No longer is a narrative of progress and
determination the guiding one of our culture, but instead a defiant cry is heard
of We Are What We Are—and it is that authenticity that should be
rewarded, not any determination. This same defiant spirit animates these
characters, but much like reality programming, that spirit hides a dark secret,
one best left uncovered.

Facts of the Case

The Parkers have a tradition, one now ruled by the imperious patriarch Frank
(Bill Sage, Mysterious Skin). With his
wife deceased, Frank relies on his daughters to help keep their rituals alive.
However, a storm threatens to wash away what little cover the Parkers have
enjoyed, and the noose tightens as their need to perform their rites grows.

The Evidence

There's nothing wrong with a healthy genre fusion. The comedy and horror
genres have been meeting for decades, producing numerous classics. Drama and
horror have successfully mated to give us The Exorcist and Rosemary's Baby. The list could go
on. From even this brief consideration, though, we can see what makes a
successful genre hybrid. The first thing is balance: the best horror comedies
(say Shaun of the Dead) pick a tone
and stick with it, offering horror and comedy in a consistent ratio. The other
lesson is that too many cooks spoil the broth: horror/comedy is cool, while
horror/comedy/drama/mystery/noir is probably a bust. With too many genres, the
result is either a mess, or a film that lacks a solid identity. We Are What
We Are falls into the second camp.

On one level, We Are What We Are is a drama about a grieving family
struggling with the death of its matriarch. The characters all try to deal with
her loss while keeping the family, and its traditions (which, if it's not clear
from the tagline and cover art, include cannibalism) alive despite a death. The
emotional toll is obvious, and the cannibal touches just embellish a story of
grief. On another level, the film is a mystery/thriller: the Parkers are not
exactly law-abiding citizens and there's a tremendous tension between their need
to continue their practices and their need to not get caught. The investigation
and risk of exposure drive most of the plot. Finally, the film also draws on
horror, from its gothic atmosphere to its story of country cannibals. Though not
the gross-out cannibals of most exploitation-style flicks, the Parkers are
certainly not presented as funny in their consumption of flesh. These disparate
elements never quite gel. The tension of the mystery/thriller aspects keeps us
from dealing with the dramatic tension of the grieving family. The moments that
focus more on the family slow down the thriller/mystery plot too much to make
that work. Finally, the horror elements are either too present, because they are
unnecessary in the face of the thriller elements, or not present enough. A bit
more gore and a few more scares might have tipped the balance in favor of
horror, making this an easier watch.

Instead, we get 90 minutes of buildup for 15 minutes of payoff that never
quite comes together. It's not an unwatchable mess, but it is the kind of film
that feels like it would have been better if it were three different movies.

The Rebuttal Witnesses

The best thing about We Are What We Are is the situation by which the
Parkers risk detection: a storm is flooding their small town, washing up the
bones of their victims. It's a delicious detail, the kind of gothic filigree
that would adorn a Flannery O'Conner story. It should have been the basis for a
kind of biblical reckoning, as nature slowly unmasks the unnatural Parker
family. Sadly, that's not to be, but considering that it's a marked change from
the 2010 Mexican horror film on which We Are What We Are is based, it
seems more worth mentioning. Kudos also go to the film for at least trying
something different from its predecessor by switching the gender roles. Although
I think the idea of the family continuing in the face of the death of a
patriarch is dramatically stronger, the film gets points for being a bit
different.

We Are What We Are (Blu-ray) is presented with a 2.35:1/1080p
AVC-encoded transfer that's strong on detail and color saturation. The film's
slightly gritty look is well-preserved, and black levels stay consistent and
deep throughout. The overall look seems hampered by a smallish budget, but
whatever weaknesses the image has seem to reside in the source and not this
transfer. The DTS-HD 5.1 track is similarly impressive. Dialogue is clean and
clear from the front, while the surrounds get used for atmosphere (including
that storm). It's not the most active track in the world, but it suits the
picture perfectly.

Extras start with a commentary featuring the cast and crew. They're
predictably pretty happy with the picture, sharing stories of the production and
a few tidbits about its origins. We also get interviews with director Jim
Mickle, along with stars Bill Sage and Julia Garner. They're not extensive, but
do a fine job fleshing out their feelings on the project. Finally, we get a
decent making-of featurette that mixes the usual production footage, clips, and
interviews.

Closing Statement

We Are What We Are isn't a terrible film; far from it. Instead, it
feels like a missed opportunity, with too many different elements acting against
one another instead of in concert. Though competently put together, the whole is
less than the sum of its parts. Horror fans are better off sticking with the
Mexican original, though those who do pick the film up will find the Blu-ray
worth a rental.